Because of its special material, Weibei has been well inherited, which can be roughly divided into five categories: sculpture inscriptions, cliff stone carvings, epitaphs, tombstones and temple monuments. From the style, it can be divided into ten types: bold and hazy, leaping brushwork, handsome and heavy brushwork, fantastic implication, flying charm, full of interest, profound implication, natural structure and rich flesh and blood.
First, the inscription on the statue
Most of the content is to cherish the memory of the sculptor's merits and pray for the dead. The statue itself is sacred, so the words recorded in the statue naturally have solemn and rigorous characteristics. The main representative works are: four products of Longmen, ten products of Longmen, twenty products of Longmen and thirty products of Longmen. The twenty products of Longmen have always been the most impressive, among which the four products of Longmen are representative works, namely, stone statues, statues of Xue Fashao, statues of Sun Qiusheng and statues. Most of these works are simple in engraving, often without calligraphy, and seem to be directly engraved, so the meaning of Tao is relatively strong, and they are regarded as the typical "Fang Bi", with strong style, simple and heavy, and the most masculine beauty.
Second, cliff stone carvings
Cliff stone carvings are mainly concentrated in Shandong. There are Yunfeng Mountain Stone Carvings in the Northern Wei Dynasty, Four Mountain Stone Carvings in the Northern Qi Dynasty, Stone Valley Diamond Sutra, Shimen Ming, and Manjushri Prajna Sutra in Buffalo Mountain. Yunfeng Mountain also includes Taiji Mountain, Tianzhu Mountain and Baifeng Mountain. These four mountains include Okayama, Jianshan and Tieshan Wakayama.
The sculpture of Yunfeng Mountain was mainly written by Zheng Daozhao and his son, and the masterpiece is Zheng Wengong Monument. Yongping in the Northern Wei Dynasty carved it on Yunfeng Mountain in Ye County, Shandong Province in four years, which was called "the lower monument", and there was a monument on Tianzhu Mountain. Body posture is mainly horizontal, broad and peaceful. Because the stone surface is uneven, the rubbings are characterized by roundness, evenness, soothing and massiness, and the whole looks peaceful and elegant, without a trace of fireworks. "On Classical Poetry" was carved by Yongping in the Northern Wei Dynasty for four years, with round brushwork, vigorous bones, broad structure and great momentum. Others include Poems of Children Watching the Sea and Inscription of Dongkan Stone Chamber.
There are obvious forms and meanings of trying to use official script in the Diamond Sutra and Manjusri Sutra of the four mountain stone carvings in the Northern Qi Dynasty. The font is flat and wide, the strokes are thick, and the lifting pressure is not obvious, which is annoying. Generally speaking, they look calm and comfortable, simple and gentle. Shimen Ming was written by Wang Yuanshu in the early years of Northern Wei Dynasty. He inherited the style of "Shimen Fu" in the Han Dynasty, and his brushwork was fluttering and had the rhyme of grass. Kang Youwei is known as "Fei Yi Hunmu Sect".
Third, the epitaph
The most important thing is the epitaph of the royal family in Yuanshi County unearthed in Mangshan, Luoyang. In addition, there are the famous epitaph Sima Jing and his wife, Diao Zun, Cui, Ju and Zhang Xuan. Most of the epitaphs in Yuanshi County of Mangshan Mountain are exquisitely carved and have a high level of writing. From the font point of view, they can represent the maturity of regular script at that time, and the style is mainly beautiful and elegant. Other epitaphs have diverse styles, some dignified and some detached, all of which have high aesthetic value.
Epitaph of Zhang Xuan, also known as Epitaph of Zhang Hei, has lost its original stone. During the light years of the Qing Dynasty, a Shandong engraving was found in He Shandong, which is rare in China. His strokes are mutual, hidden and exposed, light and heavy, rigid and soft, and interesting and mellow. There are many similarities with the regular script of the Southern Dynasties, without losing the true colors of the Northern Dynasties. The structure of the painting is slightly raised, which increases the sense of trend on the side, but it is extremely stable and peaceful because it is mainly horizontal, generous and slightly proper limit. Qing He commented on the cloud: "There is no god, no wonder, and no perfection. However, there are details in the rough, and no one can compare with the black girl. "
Four. Tombstones and temple monuments
The main works are: Song Gaoling Temple Monument, Gaoqing Monument, Jia Sibo Monument, Zhang Menglong Monument and Gao Zhen Monument in the Northern Wei Dynasty, Goldman Sachs Monument, Jing Monument and Monument in the Eastern Wei Dynasty, Juanshula Monument in the Northern Qi Dynasty and Hua Yue Monument in the Northern Zhou Dynasty. This kind of works are relatively solemn in words and meticulous in carving, and some works also deliberately pursue the form and meaning of seal script, so they often have rigorous characteristics. The best one is "Zhang Wang Meng Monument".
The Monument to Zhang Menglong is called the Monument to the Qing Dynasty in Zhang Fujun, the magistrate of Lu Wei, and it is one of Weibei's late masterpieces. Kang Youwei is regarded as an "orthodox school", enjoying a high reputation, and even has the reputation of "the king of the North Monument". The brushwork of Zhang Menglong's Monument is vigorous and resolute, and it is mainly square, such as Fang Bi's horizontal and straight brushwork, the square edge of the fold and the point of the triangle; But throughout, there seems to be a beautiful and handsome gesture.
Wei Bei has a unique position in the history of calligraphy, which has been ignored for a long time after its appearance. It was not until the Qing Dynasty that it was revived and given a brand-new historical position. Up to now, at least two historical values have been affirmed: one is the evolution of fonts, which records the exploration of regular script in the Northern Dynasties and proves that regular script in the Northern Dynasties is the premise and foundation of the brilliance of regular script in the Tang Dynasty; The second is artistic value. The unique masculinity, boldness and simplicity of these works are important types of calligraphy beauty.
This article was published by "Book Storm Account" on 2065438+September 23rd, 2007.